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It's Psychedelic Baby Magazine

It's Psychedelic Baby is an independent, music magazine. We are covering alternative, underground, non-commercial and non-mainstream artists in variety of shapes and genres. Exclusive interviews, reviews and articles. A place where musicians can express themselves. We serve an international readership.

Mighty Baby's self titled debut, one of the greatest of all
psychedelic records of the 60's, was languishing in obscurity for over 10 years
before Psycho Records reissued it in the 80's. After what was a limited
pressing it went back in limbo until the advent of CD's when the word
eventually got around and it's now considered a psychedelic classic. Hard to find
on vinyl when it came out and even harder to find these days at garage sales,
attics, musty & moldy basements, or even auctions, it's a skillful blend of
psych, jazz, great melodies & songwriting. At it's core the music is
wrapped around the instrumental dexterity of Martin Stone and Ian Whiteman's
mesmerizing woodwind and keyboard passages.

Mighty Baby was formed in 1968 around Alan "Bam"
King [guitar), Mike Evans (bass) and Roger Powell (drums), all were founding
members of one of the UK's greatest Mod groups, The Action. Late-period
arrivals Martin Stone (guitar, ex-Savoy Brown) and Ian Whiteman (piano,
saxophone) completed the lineup and Mighty Baby was born. Stone & Whiteman
actually joined the latter days of The Action making what would be known as
"The Action/Mighty Baby Demos". Most of my record collecting
acquaintances bow their heads and speak in hushed tones when the subject of
Mighty Baby comes up. "You donżt have an extra copy kicking around? Do
you? It doesn't have to be Mint....I'll take a beat up copy.. just so I have
one, you know?"

But I digress.....as mentioned before, the roots of Mighty
Baby lie in The Action, a mod band from London who formed in 1963 and gained a
healthy following due to their powerhouse live shows and a clutch of five
finger poppin' singles released between the years 1965 and 1967 on the
Parlophone label. But as the mid 60's turned into the late 60's, striped bell
bottoms and frilly chest baring Rod Stewart tops were being turned in for
kaftans and acid tabs all around London. [Has anyone told Rod that he's a wee
bit not happening these days? I mean really....The Cole Porter Songbook?!!??]
Musical barriers weren't just being kicked down they were demolished and
conciousness was being expanded. The Action was there front and center ready to
mount their assault.

The initial change came when Action acquired guitarist
Martin Stone and pianist Ian Whiteman into their fold. Stone was fresh from a
stint of trying to psychedelicize Savoy Brown. As the story goes, Stone got Savoy
Brown busted for drugs when he was searched at the airport and was promptly
tossed out on his arse.....who knows how these rumors start?....you be the
judge. One day I will have Martin Stone on The Dangerous R&R Show and we'll
ask him. With two highly proficient and willing new members, The Action saw
their opportunity to "Tune In, Turn On & Drop Out".

The Action loved jazz and while Mingus & Miles were
admired they adored the king of freedom, John Coltrane. When Ian Whiteman
joined the band they developed their particular style of "freeform"
by covering Coltrane's INDIA. Mighty Baby's recording of this song is only
available on a CD entitled FROM THE ATTIC. A live recording made in 1971,
discovered in the attic of one of the members, and released by the band. The CD
claims "That's all there is, there is no more". When Mighty Baby
started playing their rock-fueled version of India with a belly full of
enthusiasm and a head full of blotter, they confused the mods and sent dope
soaked hippies into outer space.

The quintet's self-titled debut album, released on Head
Records in 1969, starts with what is considered their theme song....

EGYPTIAN TOMB: What is this glorious racket coming out of my
speakers? What instruments are creating that melody? From the opening my ears
are standing up straighter than Lyndon B. Johnson's beagle at a photo shoot.
Whitemans' sax [left channel] and Stones' guitar [right channel] are seamless
and yet altogether miles apart. Then all of a sudden the chorus comes crashing down
and I'm on my knees asking...no.. begging for more. A wonderful blend of jazz,
rock and melody seemingly improvised but somehow you know that this isn't
possible! Martin Stones' over amplified guitar notes seem liquid.....caressing
every nuance....gaining momentum until it's dissipated finality. 5 minutes / 30
seconds of brilliance.

A FRIEND YOU KNOW BUT NEVER SEE: is lighter fare... maybe ....rolling piano,
powerful drumming and guitarwork that is certainly skinny dipping in the
"Oil-0-Joy" with a riff that The Bevis Frond might have borrowed for
"African Violet" this is one outstanding track.

I'VE BEEN DOWN SO
LONG: the band dips into the west-coast vibe, Whiteman trading in his sax for
piano and again the interplay between he and Stone stands out. Michael Evans
flexes his muscle on bass and it's Stone's turn to pan left to right.
Ahhh.....it was almost 1970 but the lads were keeping the 60's alive for sure.

SAME WAY FROM THE SUN: Martin begins in the left channel
working his way to the middle setting the stage for Alan Bam King..excellent
vocal! The song morphs into a psych rave this time Stone jamming with himself.
Just when it seems that the song is over [a big psych crash] the band comes
fading back, speeding up things and here Whiteman shines on the big B-3
Hammond.

HOUSE WITHOUT WINDOWS: the laid back vibe is evident. Stone
setting the pace, Whiteman picking it up for the first verse, a staggered
chorus then back to the main theme, second chorus leading into another Stone
mind-melting solo! Big business, Atom bombs, fighting for the Queen, reasons to
exist again...."in a house without windowsżin a house where no wind
blows"... Indeed.

I'M FROM THE COUNTRY: opens with Stones' acoustic but it
only takes a couple of bars before the band is in full bloom with their early
take on "Americana". Martin Stone demonstrates that he's comfortable
with a variety of styles, here taking on the Clarence White [Byrds] style of
country rock guitar.

AT A POINT BETWEEN FATE AND DESTINY: recalls the pastoral
musings of fellow countrymen, Barclay James Harvest. The rhythm is laid down
with the acoustic guitar and Whiteman adds some soaring B-3 organ. Every
passing minute gets you closer to the patented Mighty Baby jazz/rock
improvisation. The tension is there teasing you but never quite fulfilling the
promise making you want to turn the record back to side one for
more.....brilliant IMHO.

Having dipped into that intoxicating world of psychedelia, I
can say that this is perhaps one of the best debuts of the 60's, most certainly
on every psychedelic record collectors top 10 list.

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Psychedelic Folk issue available

Dedicated to British psychedelic folk. New issue of printed version projected from the well-known, leading psych on-line site It’s Psychedelic Baby. After the previous issue covering exclusively the US psychedelic folk scene (IPB 002, 2016), this new issue covers the 1960s and 1970s British folk scene, with exclusive interviews of members from acts such as Fresh Maggots, Comus, Mellow Candle, Dr Strangely Strange, Spirogyra, C.O.B., Incredible String Band, Fairport Convention, Pererin, Courtyard Music Group, Magic Carpet, Sunforest, Oberon, etc. Also includes a few pages of record reviews. Cover by Justin Jackley.